Artie Oliveira

Remote Mixing & Mastering

Looking for a Hardcore Punk and all kinds of Metal music specialist? That's me!

Greetings, everyone...

My name's Artie, I'm 29 years old and I've been working with audio since my teenager days. Back to my hometown, Campinas, all my job was based on some of the town's local bands, recording, mixing and mastering demo tapes, EPs and a couple of full-lengths at a lot of studios. Some of these acts that I've produced are still active in the hardcore/metal scene of my hometown.

Actually, I've got a degree on Record Production at the Tecnology College of Tatuí (FATEC). Besides that, I'm also working with the local Jazz musicians, doing some mixing and video services for them...

My goal is: keep working with metal and hardcore bands worldwide, providing mixing and mastering for any kind of project.

Credits

Reviews

Interview with Artie Oliveira

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: The live album "Pig Mouth Strikes Again", from the punk band Muzzarelas. I've worked a lot with them, as a roadie and cameraman. One day, they'd came a comeback show and invited my band, Don Ramón, for being the supporting act in the gig. I proposed for their bassist, Daniel Etê, to record both the concerts in analog tape. Back then, I was excited to finally record something to the oldest act in activity in Campinas and a couple of years later, it became reality in the form of a Compact Cassette, which sold out quickly.

Q: What are you working on at the moment?

A: I'm working in some audio projects at my college, doing the video part for it. My latest producition is the EP "GodHead", from Modorrah, a Nu-Metal band from Campinas, my hometown

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Carlos Freitas, from Classic Master

Q: Analog or digital and why?

A: Without doubt, Analog!
Just because: Without the analog workflow, digital wouldn't exist and, most important, a phonogram is basically electricity converted to audio, nor zeros and ones.

Q: What's your 'promise' to your clients?

A: No "promises", just the good work without cheating in the process.

Q: What do you like most about your job?

A: Besides earning some money, it makes me satisfied to see the artist's happiness with the job done, because in first place, I'm an musician and I had the same sensation in the first time I went to a recording studio and listened to my own tracking.

A: Customer - Artie, let's record it quickly?
Me - Calm down! All your setlist is properly rehearsed? If yes, let's do it! If not, let's first record your rehearsal as the pre-production of your album. After it, then let's do it!

Q: What's the biggest misconception about what you do?

A: "Audio Engineers? I don't need it... I'll do it with only two channels and it'll be awesome!"

Q: What questions do you ask prospective clients?

A: - Is the tracking was done without problems?
- How many tracks your song have?
- Do you wanna the mixing with mastering or just one of them?
- Is it edited or not?
- Do you wanna an alternate mix?
- Let's work together?

Q: What advice do you have for a customer looking to hire a provider like you?

A: You won't be disappointed with my work... I love and live what I'm doing, for sure!

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Any AKG's headphone; A Shure SM57; A PreSonus' FaderPort; A good notebook with any DAW inside; A tube pre-amplifier

Q: What was your career path? How long have you been doing this?

A: I'm a known "studio rat" in my hometown... In the beginning, I didn't knew what I was doing and how it all worked. In 2009, I graduated as a Sound Operator, but due the lack of hiring new audio technicians at the local studios, I've been working as a freelancer, doing audio jobs for the local bands.
Last year, I was accepted for Record Production at the Techology College of Tatuí. Nowadays, I'm one of the interns of the college's studio, which is the biggest place for teach audio in Latin America.

Q: How would you describe your style?

A: A mixture of Digital and Analog, hoping one day for work in a tape-based studio, if it still exists.

Q: Which artist would you like to work with and why?

A: If I could do just a single for Deftones, I'll be grateful for the rest of my life. It would be the way that I return all the love that I have for the band.

Q: Can you share one music production tip?

A: The more organic your record sounds, better it will be for wider audiences

A: The application of the analog technology in my work as a guide from beginning untill the end.

Q: What do you bring to a song?

A: The musician's best performance, without post editions and all the stuff which is common for a lot of people...

Q: What's your typical work process?

A: For mixing and mastering, due the practicality, I do all the process In the Box, emulating a tape workflow for it.

Q: Tell us about your studio setup.

A: I work with:
- A 24-track Studiomaster Trilogy 326 for tracking...
- A couple of Firefly 808 from Phonic as my AD/DA interface...
- For the DAW, I'm currently using Adobe Audition CC 2017, but I don't have any problem in using some other, like REAPER
- After mixing, the summing is done in analog way with the help of the eight aux channels of the console and a vintage Akai GX-4000D Reel to Reel tape recorder.

Q: What other musicians or music production professionals inspire you?

A: Well, I'm a Die-Hard Nu Metal fan, which implies that I've been listening to every record that Ross Robinson, Terry Date and Steve Albini produced since I was young. From Helmet to Islander...
Now, for mastering... Ted Jensen is my favorite one because he did almost all the Deftones' discography at Sterling Sound.

Q: Describe the most common type of work you do for your clients.

A: For most of the clients at the studio that I work, I do everything: From tracking the song 'till mastering the entire album.